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3D Monitor Red-Lines Depth Budget

JVC Professional’s new 24-inch 2D/3D professional-grade production monitor can warn in realtime if you try to overspend your depth budget, making it easier to shoot good 3D.

The DT-3D24G1 measures the depth and parallax in the picture, and allows users to set depth limits. If you exceed them, it shows by how much. You can set a negative depth budget of up to 4% and a positive depth up to 20% (although those extremes would be ill-advised).

“The line changes colour if you go over it and will show how many pixels you are out and how much percentage,” said Gustav Emrich, European product manager at IBC.

“It also has two waveform monitors and two vectorscopes and can also check the stereo alignment of the cameras and show timecode one and two and any difference information.”

It uses an Xpol Circular Polarising system compatible with the RealD system, so users can view it through inexpensive polarised glasses. It accepts and processes signals from dual camera systems, stereo-rigs and coded Side-by-Side and Line-by-Line 3D signals. It is 3Gbps ready, has 10-bit processing, and can be used as a field monitor, but requires 24-volt power.

It should be available by the end of December for €8,200.

By David Fox, TVB Europe
source: http://really.ru/eng/news/vr-a-3d-hardware/1306-3d-monitor-red-lines-depth-budget.html

HDTV Expert – 3D over broadcast digital TV: Can it be done right now?

I’ve been asked more than a few times this year if it is at all possible to transmit 3D over digital terrestrial television broadcasting (DTTB), or what we know simply as “free digital TV.” There seems to be a perception that one must have a Pay TV subscription service (cable, DBS, FiOS, or U-Verse) to access 3D programming.

Believe it or not, carrying 3D over terrestrial broadcast stations is mostly a business decision. Yes, major TV networks like CBS, NBC, Fox, and ABC could start broadcasting programs in 3D right now. And your 3D-enabled TV would be able to process the 3D signals correctly so the programs can be watched with active-shutter glasses. (I’m not going to discuss color anaglyph 3D here, which works over any TC channel, but produces the lowest quality of 3D.)

The ‘catch’ is that the 3D content would have to be delivered in a frame-compatible format, such as 720p/60 top + bottom(like ESPN uses), or 1080i/30 side-by-side (like DirecTV uses). Both of these formats were specifically developed to fit in a standard 6 MHz channel space, using a maximum bit rate of about 19.39 Mb/s. And in fact, broadcasts of 3D content from earlier this year were delivered in the MPEG2 format that is standard for over-the-air digital TV.

The fact that cable companies and satellite broadcasters are now moving to MPEG4 encoding for 3D carriage shouldn’t be discouraging. MPEG4 (more specifically, H.264 AVC) provides for 50% compression efficiency over MPEG2. But broadcasters can still pipe a pretty good 3D signal into your home using MPEG2, which has also gotten a lot more efficient in the nearly 20 years it’s been around.

Remember that both of the frame-compatible 3D formats sacrifice some image resolution to fit within a standard channel width/bit rate constraint, no matter what service you get 3D from. For top+bottom, your TV receives a combination frame with two 1280×360 images, anamorphically squeezed in the vertical plane. For side-by-side, each frame of video provides a pair of 960×1080 images, anamorphically squeezed in the horizontal plane.

Your 3D TV separates the two frames and reverses the anamorphic squeeze with a stretching process, resulting in full left eye/right eye frames – albeit with somewhat lower resolution. But today’s TVs do a pretty good job of interpolating pixels to correct for de-interlacing and judder, so these half-resolution images don’t look nearly as bad as you might think.

So, what’s holding broadcasters back? For one thing, available bits! DTTB is limited to a maximum bit rate of 19.39 Mb/s, and that leaves just enough room for one full HD channel (15 Mb/s maximum bit rate) and perhaps a standard-definition channel (3 MB/s maximum bit rate) to go along with it. So a broadcaster would have to devote the entire HD bit rate to the 3D program. Jamming a second 720p/60 or 1080i/30 3D program alongside the standard 2D broadcast would not be practical, as image quality on both channels would suffer.

Another possibility would be to transmit a 2D signal (left eye) and carry the right eye signal as a separate program. This would be a similar approach to analog FM stereo broadcasts, where the stereo information is transmitted as a subcarrier, or analog color TV, where the color burst is also carried as a subcarrier.

This technique can be accomplished digitally by transmitting a full-bandwidth 2D signal (left eye) and carrying additional metadata (2D + depth information) required to create the stereoscopic effect. That metadata would add something to the payload, and would rely on the some of the image processing inside the TV.

Now, a broadcaster could carry the Super Bowl in full HD as before (720p or 1080i), yet still enable 3D viewing for TVs equipped to handle the 3D signal. But there’s another ‘catch:’ Your TV would have to recognize the metadata ‘package’ and be able to open it up, rebuild the right eye frames, and sequence them accordingly.

Because it’s not likely that a DTTB station would use its entire bandwidth to carry a 3D broadcast of a big event, the 2D + depth format would make the most sense, just as older black and white TVs could still display a color TV program simply by ignoring the chrominance signals. I don’t know of any consumer TVs that are equipped to handle the 2D + depth format, so some sort of outboard adapter would be required to make this work.

The good news is that such a 3D converter box would not have to be expensive. It would incorporate an ATSC tuner (maybe even a pair of tuners!) and would be equipped to process the DTTB 3D signal into top + bottom or side-by-side formats, using a standard HDMI output connection to the TV. Frankly, such a box ought not to cost much more than $100, and could also be sold as a bundle with one or two pairs of universal active shutter glasses. (Motorola showed a prototype 3D converter box at NAB 2010 for older, non-3D TVs.)

What programs would work in 3D? Aside from football, which I do not believe benefits much from 3D based on my recent experiences, I’d say basketball, hockey, auto racing, Olympics individual events, golf, and tennis. Basically any sports event where the camera can get close enough to realistically create a sense of depth.

Who would be likely to try 3D broadcasts? My guess would be ABC and Fox for starters, given how much sports programming these networks already carry and how many stations they own. ABC, of course, is part of Disney, who also owns ESPN. ABC has the NBA, college football, and the Indianapolis 500, while Fox operates an extensive sports division and covers college and pro football, auto racing, and major league baseball.

NBC might also dip their toes in the water with Olympics coverage, Notre Dame football, NASCAR, horse racing, and Sunday Night Football. I’d see CBS as the last network to try this out, simply because they adhere to a strict ‘no multicast’ policy at all of their owned-and-operated (O&O) CBS and CW stations.

So the answer to the question is “Yes, free TV stations can broadcast 3D programming, and they can broadcast it now.” The catch is, do they want to, and which delivery format would they adopt to make it work?

by Pete Putman on November 15, 2010

source: http://www.hdtvmagazine.com/columns/2010/11/hdtv-expert-3d-over-broadcast-digital-tv-can-it-be-done-right-now.php

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Specification for Naming VFX Image Sequences Released

ETC’s VFX Working Group has published a specification for best practices naming image sequences such as plates and comps. File naming is an essential tool for organizing the multitude of frames that are inputs and outputs from the VFX process. Prior to the publication of this specification, each organization had its own naming scheme, requiring custom processes for each partner, which often resulted in confusion and miscommunication.

The new ETC@USC specification focuses primarily on sequences of individual images. The initial use case was VFX plates, typically delivered as OpenEXR or DPX files. However, the team soon realized that the same naming conventions can apply to virtually any image sequence. Consequently, the specification was written to handle a wide array of assets and use cases.

To ensure all requirements are represented, the working group included over 2 dozen participants representing studios, VFX houses, tool creators, creatives and others.  The ETC@USC also worked closely with MovieLabs to ensure that the specification could be integrated as part of their 2030 Vision.

A key design criteria for this specification is compatibility with existing practices.  Chair of the VFX working group, Horst Sarubin of Universal Pictures, said: “Our studio is committed to being at the forefront of designing best industry practices to modernize and simplify workflows, and we believe this white paper succeeded in building a new foundation for tools to transfer files in the most efficient manner.”

This specification is compatible with other initiatives such as the Visual Effects Society (VES) Transfer Specifications. “We wanted to make it as seamless as possible for everyone to adopt this specification,” said working group co-chair and ETC@USC’s Erik Weaver. “To ensure all perspectives were represented we created a team of industry experts familiar with the handling of these materials and collaborated with a number of industry groups.”

“Collaboration between MovieLabs and important industry groups like the ETC is critical to implementing the 2030 Vision,” said Craig Seidel, SVP of MovieLabs. “This specification is a key step in defining the foundations for better software-defined workflows. We look forward to continued partnership with the ETC on implementing other critical elements of the 2030 Vision.”

The specification is available online for anyone to use.

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